Drama in Education: Approaches to German Studies Abroad - Essay Example

Deadline of Drama in Education: Approaches to German Studies Abroad Introduction As drama in educationcontinues to seek paths in favor of enlivening its worth by producing artists who master their own fields in the arts, much action and thought is called for in the process of persevering and innovating practices to achieve this goal while minimizing impedance by language complexity. Current focus tends to analyze the role of drama and theatre in educating prospects with foreign or second languages along with the culture and literature related to the latter (Scenario). Review and Findings A. Axtmann (2002) highlighted that the challenge posed by cross-cultural exchange consists in the process of learning which, besides including formal pedagogy, is chiefly filtered through the senses. In particular, the experience of having trips within a foreign land (Mexico) where she became more exposed to the Mexicans way of life during an indefinite period to pursue her art studies brought in a perspective of non-rigid understanding followed by a spontaneous articulation of every knowledge piece imbibed (Axtmann). The interest towards being dynamic to interact and learn under a transcultural setting is sparked hence with becoming accustomed to the traditional practices, manners or conduct to enhance the overall effect of formal education and break further barriers in language and learning capacity. To Kim Flintoff (2005), on the other hand, drama in education must attain to the goal that makes use of or is optimized by technological intervention. If the possible benefits of such approach in this aspect is reluctantly perceived, then a sound educational practice might be confined in a limited progress (Flintoff). Despite this risk, it is still worthwhile to examine Axtmanns consideration of the body as a primary site where differences and universality can be sorted out. Technology to facilitate learning may suggest appropriate tools for academic instructions in drama to be potentially conveyed yet a focus on experience places more priority on self-awareness and how ones unique characteristics may find relevance to give value to others within the same sphere of training. This way, pertinent skills to the field of drama are developed at depth prior to application of external device which may follow anytime after the core to teaching drama has been settled on achieving an output with the right elements that primarily communicate thought and logic of a character performance. Manfred L. Schewe (2002) likewise came up with an equivalent view that signifies tapping on the students bodily-kinesthetic intelligence in which his focus of instruction meant to direct theory and practice of drama as a holistic concept of learning and teaching a foreign and second language especially German as a foreign language (Schewe). With the findings edited by John Somers (1996) regarding the experience of prospective drama teachers during a period of educational drama, a series of workshops coupled with diary entries to be written with vivid reflections describing each workshop were administered. Using triangulation method on the sessions that took place proved to have strengthened knowledge with different strategies. In this mode of learning, one gets to assess oneself in terms of how else a performance may be improved and untapped abilities be discovered in the process. As a consequence, profound reactions revealed gaining capability to empathize and understand drama through a whole new context beyond the conventional classroom setup (Somers ed.). A. Franks (1999), similarly, drew emphasis on how much an atmosphere or facility, populated with activities and various possibilities to carry out interaction between a teacher and a learner or among learners themselves, may compound language and drama to make significant meaning through occurrences of learning in several styles. He claimed that, as an immediate and tangible medium, drama is always about social encounters and that there is, in a dramatic activity, an intersection between broad social and cultural concerns and moments of instantaneous experience both personal and social (Franks). At such bulk of scenarios weaving drama out of various resources, student backgrounds and types of teaching experience, Jun Liu (2002) responded to revolutionize general involvement by proposing two options in teaching wherein one refers to Focus on Forms. Here, the course design initiates with the language or secondary language split in two parts, in which to carry out the necessary instructions while Focus on Meaning, on the contrary, employs the learning processes and learners involved as the point of origin (Liu). In another article, R. DiNapoli (2003) argued that, as a natural dialogical process of cognitive and affective involvement, non-exhibitional dramatic role-play generates authentic meaning through action and personal commitment (DiNapoli). P. Taylor (2000), in his demonstration of a drama praxis, showed how the principle of effective partnerships enables artists and educators to be activated, reflective upon individual contribution, and transformed, when a drama teacher is empowered to best impart his unique influence, encouraging commitment instead of typical participation (Taylor). In case there emerges conflict with the understanding of language in a German play, the event would by all means necessitate to have unproven talents justify classic shows with thorough preparation especially on rehearsing the text memorized several times, according to P.E. Carels (1977), who criticized that drama, more than just a single play, could be made of a connected series of brief dramatic works with distinct authors (Carels). Being engaged this much with hard work was recognized by Persephone Sextou (2002) who maintained that the advanced circumstances for further development in the provision of theatre education particularly in Greece have been created by past endeavors (Sextou). G. Bolton (1984), chose to step onto a position asserting that the drama teacher must be flexible thinker, often being required to promote a highly distinguishable mode of thought compared to the capacity displayed by the learners (Bolton). His claim even extends to indicate that learning drama, as a series of presents steeped in significance, occurs when habits of perception and conception are broken (Bolton). In the same manner, OToole and Stinson (2009) found potentially radical implications for curriculum with Heathcotes invention of teacher-in-role phenomenon which was said to come out spontaneously in the course of teaching (O’Toole et al.). Conclusion Because drama itself has its own set of pedagogical approaches which require certain levels of comprehension that vary depending on social and cultural settings, the possibilities to adopt to studying foreign language as a student are not limited to a single aspect of learning no matter how an individual chooses to dwell on a specific area. For J.H. Shier (2002), interdisciplinary work educates each learner to look at a problem from multiple perspectives (Shier). Experience that evolves ones character as an artist-in-the-making determines the next suitable steps to growth and competence towards extreme challenge set by unpredictable factors in language and culture. Works Cited Axtmann, Ann. Transcultural Performance in Classroom Learning. Greenwood: Ablex Publishing, 2002. Taylor, Philip. The Drama Classroom: Action, Reflection, Transformation. London: Routledge, 2000. Carels, Peter E. “A German Play Option: The Dramatic Revue.” http://www.jstor.org/pss/3529120. 2010. Web. 5 Sep 2010. Bolton, Gavin. Drama as Education: An Argument for Placing Drama at the Centre of the Curriculum. Harlow, Essex: Longman, 1984. Bolton, Gavin. “Towards a Theory of Drama in Education.” http://www.mantleoftheexpert.com/. 25 Aug 2010. Web. 4 Sep 2010. Shier, Janet H. “The Arts and the Foreign/Second Language Curriculum: An Interdisciplinary Approach to Actively Engage Students in Their Own Learning.” Gerd Bräuer (Ed.): Body and Language: Intercultural Learning through Drama 2002: 183. Web. 5 Sep 2010. Sextou, Persephone. “Drama and Theatre in Education in Greece: Past Achievements, Present Demands and Future Possibilities.” The Journal of Applied Theatre and Performance 7.1 (2002): 93-101. Web. 4 Sep 2010. DiNapoli, Russell. “Towards Natural Engagement in Non-exhibitional Dramatic Role-Plays.” Iberica 6 (2003): 15-38. http://www.aelfe.org/documents/text6-DiNapoli.pdf. Web. 5 Sep 2010. Flintoff, Kim. Drama and Technology: Teacher Attitudes and Perceptions. Diss. Edith Cowan University, 2005. Mount Lawley Campus. Franks, Anton. “Where the Action Is: How Drama Contributes to the Art of the Teaching and Learning of English.” English in Education 1999: 39-49. Leading Education and Social Research. Web. 4 Sep 2010. Liu, Jun. “Process Drama in Second- And Foreign- Language Classrooms.” Gerd Bräuer (Ed.): Body and Language: Intercultural Learning through Drama 2002: 51. Web. 5 Sep 2010. Schewe, Manfred L. “Teaching Foreign Language Literature: Tapping the Students’ Bodily-Kinesthetic Intelligence.” Gerd Bräuer (Ed.): Body and Language: Intercultural Learning through Drama 2002: 73. Web. 4 Sep 2010. Somers, John (Ed.). Drama and Theatre in Education: Contemporary Research. North York, ON: Captus Press Inc., 1996. O’Toole, John, et al. Drama and Curriculum: A Giant at the Door. Library of Congress, 2009. “Scenario.” http://www.ucc.ie/en/scenario/. 2010. Web. 5 Sep 2010. Read More